Dylan Wickens BandFall Down Go BoomStone Pillar Productions SPP0032003

Dylan Wickens Band - Fall Down Go Boom - Stone Pillar Productions SPP003 - 2003

Written by John Taylor

Dylan Wickens' debut release, Shuffle This, was a fine outing marred only by somewhat murky production. Resisting the urge to rush back into the studio, Wickens wisely took his time to digest lessons learned, and now, some two years later, he's back with Fall Down Go Boom.

Not surprisingly, the sound problems have all been fixed up here, with the recording sounding altogether appropriately like a band performing live in an acoustically complimentary room. 'Nuff said there.

Material here is about half-and-half, with Wickens accounting for five originals and saxophonist Flip Townsend, his partner and musical foil, contributing one. Together they've put together a nicely varied platter, with Townsend's musical background adding a strong element of jazz to the mix.

The boys blast out of the gate with the furiously swinging Bumble Bee Bop, an original with a strong west-coast feel. The next two are Wickens' as well with the energetically lazy reverse shuffle of I Can Take It (with tough Texas-flavoured solos from both Wickens and Townsend) giving way to the aptly named Jump To Me Baby. This one cooks, with bassist Harpo and drummer Greg Cooper absolutely locked into an irresistibly swinging groove. The band's take on Crosscut Saw is surprising, with Cooper adding an extra layer of percussion that gives the tune a vaguely New Orleans feel. This tune may be a bit beyond Wickens' vocal capabilities. Though his voice is not terribly strong, this is the only time he really seems stretched a bit thin.

Townsend's Tree's Blues, another jumping instrumental, is the disc's most ambitious undertaking. With its stops (including and extended one where it's just Townsend alone), it gives this talented sax man lots of solo space to stretch out, and he fills it well, mixing biting lines with all the right tricks - the pops, squeals, and honks - for that classic raunchy sound.

That outing flows seamlessly into Every Day I Have The Blues. Again Wickens' solo is a lesson in tone and taste, and the boys build things to a raucous climax sure to leave dancers sweaty and exhausted. Next it's Wickens' How Long, and I can't help but think the flow might be better were things re-sequenced, as this one, fine in and of itself, is a little too close in tempo and groove to follow Every Day.

Enough (2), another composition courtesy of Wickens, again employs a reverse-shuffle beat. Then it's "big guitar" time for a take on Rick Holmstrom's Lookout Holmes, with Wickens showing he's quite capable of holding his own against the genre's acknowledged masters. With its hand-clapping and its hook, this one's a highlight. The Hustle Is On is given enough of a twist that Wickens and friends can safely and in all good conscience call it their own. Proceedings come to a close with a jazzy run through T-Bone Walker's Two Bones And A Pick.

Fall Down Go Boom ought to move Dylan Wickens into the front ranks. His vocals could use some seasoning (or perhaps a guest or two next time out to help carry the load?), but he's got tone to kill for, his taste is impeccable, and he and his band play with craft, exuberance, and a probing intelligence. This one succeeds on every level.

Recommended!

Copyright 2003. Review by John Taylor.

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